From the course: Deke's Techniques (2018-2021)
890 Masking your Wonder Woman
From the course: Deke's Techniques (2018-2021)
890 Masking your Wonder Woman
- Hey gang, this is Deke McClellan. Welcome to Deke's Techniques. Today, I have returned from Antarctica to the warm embrace of my hometown of Boulder Colorado, which Curiously, is much colder than it was on our first day on the coolest continent on the face of the planet. And speaking of continents, we are currently working on a project that is so epic, it spans two of them. Last week Antarctica and this week, North America, specifically inspired by an upcoming superhero flick, "Wonder Woman 1984." So today we're going to take our Wonder Woman, whether she's an actual woman, or a man or a woman inexplicably holding a soccer ball, and we're going to take her and put her against last week's colorful, gleaming ribbed glass W's, will we mask her? Yes, we will. Plus we'll refine that mask and we'll match the foreground to the background using Gradient Overlay effect. Other people, they watch blockbuster movies, you and I, we live them, whether we're on the most remote continent on the face of the planet, or right here at home. Here Let me show you exactly how it works. All right, so here's the final Wonder Woman poster effect just so you have a chance to see it on screen, and here's where we're at now. And so first thing I'm going to do is turn on the Wonder layer, which as you may recall, is a photograph that comes to us from the Dreamstime Image Library, about which you can learn more and get some great deals at dreamstime.com/deke. All right, so with this layer selected, I'm going to go up to the Select menu and choose the Subject command, and that way photoshop will just select the image automatically. Now we've got a few problems over here in the hand, and Photoshop has done a terrible job of selecting the soccer ball. But I'll go ahead and take what I have and turn it into a mask by clicking on the Add Layer Mask icon down here at the bottom of the Layers panel. Now the easiest way to select a soccer ball is to temporarily turn off the mask by shift clicking on its thumbnail, here inside the Layers panel. And then I'll switch from the Rectangular Marquee Tool to the Elliptical Marquee. And I'll go ahead and draw around that ball. Now you're probably not going to get it right, right off the bat, and so remember, if you need to move your ellipse around, you can press and hold the spacebar until you get the top and left edges in marquees aligned, then release the spacebar and continue dragging in order to scale that marquee. And I think right about here looks pretty darn good. All right, so shift click on the layer mask thumbnail to turn it back on. Make sure it's selected by the way, and then tap the D key to enstate the default foreground and background colors, which when you're working with the layer mask are white for the foreground and black for the background. We want to bring back the soccer ball, we need to fill this area with White, which you can do by pressing Alt + Backspace here in the PC or Option + Delete on the Mac, and them I'll press Control + D or Command + D on the Mac to deselect the image. All right, now we have a little extra white next to the hand right here and the best way to select that is to go ahead and grab the old school quick selection tool. And you want to turn on the auto enhance checkbox up here in the Options bar, then reduce the size of your cursor quite a bit by pressing the left bracket key a few times, and then just go ahead and drag inside that region, initially, it's going to look like a horrible selection until you release your mouse button, at which point things look much better. Now I missed a little bit of an edge right there, and so I'll just go ahead and drag again in order to add to that selection, and now I want to fill it with black inside the layer mask once again, and you can do that by pressing Control + Backspace, that's going to be a Command + Delete on the Mac. All right, now I'll press Control + D or Command + D on the Mac in order to deselect the image, and we've got just one more problem right here, the best way to select it I found is to use the lasso tool. So I'll go ahead and grab the lasso, which you can get by pressing the L key, and then I'll press and hold the Alt key, that's going to be the Option key on the Mac, keep that key down, because it's going to allow you to draw a polygonal selection outline, as I'm doing right here. And then once you're done, just go ahead and release that key and you will complete the selection. And now I'll fill that area with black inside the layer mask by pressing Control + Backspace or Command + Delete on the Mac. And now I'll press Control + D or Command + D, in order to deselect the image. Now by this point, many of you may have noticed that we have some pretty jagged transitions in the background. Part of the reason it looks that way is resumed in the 300%. But if that bothers you, is select that width 148% layer, because after all, it's covering up the color layer. And then you would go up to the filter menu, choose Noise and choose Median, which is the filter that allows you to smooth things in photoshop, and the lowest your radius value can go is one pixel at which point if you were to click okay, then things will look a lot smoother. I don't want that however, so I'm going to press Control + Z or Command + Z on the Mac to undo that effect. All right, now press Control + zero or Command + zero on the Mac, to zoom out. And in the actual wonderwoman posters, the W's have symmetrical colors. So whereas in my case, I'm seeing one set of colors on the left, and one set of colors on the right, they're actually mirror images of each other. If that's the way you want things as well, then go ahead and switch back to the Rectangular Marquee tool here, and I'll start by selecting the left half of the image, and because I've got that vertical guide in place, I can select all the way to it and get exactly the image data I'm looking for, and then with a width 148% layer selected, I'll press Control + Alt + J or Command + Option + J on a Mac, to jump a copy of it, and force the display of the new layer dialog box. And I'll just go ahead and call this layer left and click okay. And now to flip a copy of it horizontally, I would load the layer selection outline by pressing the Control key or the Command key on the Mac, and clicking its thumbnail like so. And then what you'd want to do because we want to duplicate this guy, is press Control + Alt + T, or Command + Option + T on the Mac, there really isn't a commensurate command for that shortcut. So Control + ALT + T, or Command + Option + T on the Mac is the best way to go. Then if you're not seeing this little reference point matrix right here, on the far left side of the horizontal Options bar, then turn on this checkbox, and then what you want to do is select this right hand point inside the reference point matrix, then right click anywhere inside the canvas and choose Flip Horizontal in order to flip a duplicate of that selection. All right, so you may look at that and think gosh, that's really aren't the colors I'm looking for, in which case go ahead and turn the left layer off, you still got a selection, you want to keep it. So now I'll just go ahead and select the width 148% layer, and then let's jump a copy of it by pressing Control + Alt + J or Command + Option + J on a Mac, call this guy right this time around, click okay, reload its selection by Control or Command clicking on the thumbnail here inside the Layers panel, and then press Control + Alt + T or Command + Option + T on the Mac, in order to transform a copy of this guy, go up to the reference point matrix up here on the far left side of the Options bar and select the left point this time around, and then right click anywhere inside the image and choose Flip Horizontal in order to flip a copy of it from the right side to the left like so. And now you can go ahead and press the Enter key or the Return key on the Mac to accept that change. And I'm just going to go ahead and press Control + D or Command + D on the Mac to deselect the image. I no longer need this guideline, so I'm going to go to the View menu and choose clear guides. Now, there's just one more thing I want to do, I figure that given that our model is surrounded by so many vibrant colors, that she should have a little color as well. And so I'll go ahead and click that top layer to select it, and then I'll drop down to the FX icon at the bottom of the Layers panel and I'll choose Gradient Overlay. And this is kind of like the gradient I came up with not quite, I'm going to click on that gradient ramp right there to bring up the Gradient Editor dialog box. I've got this opacity stamp above the gradient ramp that I don't want, so I'm just going to go ahead and drag it down like so, and then I'll drag this color stop all the way over to the left hand side, and I'll double click on it. And I'm looking for a shade of purple, as if this purple right here is reflecting off her skin, and so I'll change the hue value to 270 degrees, saturation and brightness values of 90% are just fine, now I'll click okay. And next, I'll double click on this orange color stop, or at least the last stop, and these are the values I want, a hue value of 40 degrees for orange, saturation and brightness this time 100%, and I'll click okay, and I'll click okay again. And then here inside the Layer Style dialog box, we're looking for a style of linear an angle of zero degrees, and notice that I've taken the scale value way down to just 10%. And that way, we're seeing a lot of the color interface. Now what that means is that we have a very rapid transition inside of her shirt and her pants, so if you don't want that, you're going to have to increase the scale value, but you're going to lose a lot of the color in the skin tones. So that's really up to you. Now then, notice that I've set the Blend Mode to Vivid Light, although you can experiment with one or the other contrast modes if you like. And then I'm going to take the opacity value down to just 33%, so we have a slightly less garish effect. And then I'll click okay in order to accept that change. All right now there's just one thing that's still bugging me, notice if I zoom in on her hair, I'm seeing some of that white background. If I'm interested in softening things a little bit, I'm going to go ahead and click on the layer mask thumbnail here inside the Layers panel, and then I would press the Shift key and go to the Select menu and choose Select and Mask. And because the shift key is down, instead of bringing up the ginormous Select and Mask workspace, I have the good old refine mask dialog box, which I love so much more. And now I'm just going to take the radius value up to 20 pixels, and if I were to switch from On White to On Layers, for example, you can see that I get rid of that extra white. Now I'm softening the mask all over the place, but that's okay by me. And so I'll just go ahead and click okay, in order to accept that change, I'll press Shift + F in order to switch to the full screen mode. And I'll go ahead and press Control + zero, or Command + zero on a Mac to center my zoom. And that's how you go about adding a powerful Wonder Woman. In my case for some reason holding a soccer ball to your Wonder Woman poster effect here inside Photoshop. Okay, that's it for this week, next week, not quite sure, it might have something to do with metadata, which may sound boring, but if I get it right, and the bar is awfully high on this one, it might be the best technique I've done so far. Deke's Techniques each and every week, keep watching.
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- 760_sample_outside.zip
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- 800_trans_shapes.zip
- 801_range_mask.zip
- 802_flip_photo.zip
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- 818_cubical_holes.zip
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- 820_iso_arrows.zip
- 821_position_tips.zip
- 822_fill_gaps.zip
- 823_cartoon_teeth.zip
- 824_triangle_eye.zip
- 825_add_windows.zip
- 826_perfect_tessellate.zip
- 827_triangle_tunnels.zip
- 828_triangles_pattern.zip
- 829_colorful_triangles.zip
- 830_recolor_triangles.zip
- 831_rainbow_blends.zip
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- 843_enlarge_Miro.zip
- 844_Miro_Peele.zip
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- 849_turkey_2019.zip
- 850_trace_hand.zip
- 851_articulated_hand.zip
- 852_colorful_hand.zip
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- 854_paint_turkey.zip
- 855_turkey_feathers.zip
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- 859_Ps_iPad_3.zip
- 860_iPad_Sidecar.zip
- 861_Adobe_Fresco.zip
- 862_Fresco_halftones.zip
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- 864_oil_paint.zip
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- 877_nonD_poster.zip
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- 879_filmstrip.zip
- 880_awful_awesome.zip
- 881_rembrandt.zip
- 882_recolor_freeform.zip
- 883_recolor_group.zip
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- 887_heavy_metal.zip
- 888_wonder_poster.zip
- 889_wonder_displace.zip
- 890_wonder_woman.zip
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- 892_edit_metadata.zip
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- 908_rainbow_faces.zip
- 909_mask_lips.zip
- 910_single_many.zip
- 911_symmetrical_mask.zip
- 912_colorize_grads.zip
- 913_mask_grads.zip
- 914_lantern_type1.zip
- 915_lantern_type2.zip
- 916_lantern_type3.zip
- 917_blend_steps.zip
- 918_blended_blends.zip
- 919_reverse_order.zip
- 920_pattern_colors.zip
- 921_blend_pattern.zip
- 922_polygons.zip
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- 926_perfect_star.zip
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- 929_triangle_man.zip
- 930_paint_grads.zip
- 931_adv_grads.zip
- 932_trans_vectors.zip
- 933_free_distort.zip
- 934_dynamic_fx.zip
- 935_cats_eye.zip
- 936_cat_iris.zip
- 937_primitives.zip
- 938_zig_zag.zip
- 939_dynamic_hilight.zip
- 940_reptile_scales.zip
- 941_shade_eye.zip
- 942_variable_shade.zip
- 943_dragon_eye.zip
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- 952_wrap_pattern.zip
- 953_ice_shadows.zip
- 954_illustrator_ipad.zip
- 955_pencil_points.zip
- 956_ipad_blob.zip
- 957_ipad_pen.zip
- 958_grads_repeats.zip
- 959_color_grading.zip
- 960_grading_tricks.zip
- 961_blend_balance.zip
- 962_font_height.zip
- 963_camera_profile.zip
- 964_JPEG_raw.zip
- 965_match_detail.zip
- 966_Ps_line_tool.zip
- 967_troubleshoot_line.zip
- 968_blend_vectors.zip
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- 999_thats_all.zip
Contents
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860 Using an iPad as a Sidecar drawing tablet11m 37s
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861 Introducing Adobe Fresco for the iPad15m 27s
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862 Adobe Fresco paints halftone patterns9m 37s
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863 Live brushes in Adobe Fresco9m 36s
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864 Using oil brushes in Adobe Fresco5m 54s
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865 Masking layers in Adobe Fresco9m 47s
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866 Repurposing and inverting masks5m 25s
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867 Vector brushes in Adobe Fresco9m 7s
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868 Opening Fresco art in Photoshop8m 32s
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869 Customizing the Auto Color command6m 51s
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870 Camera Raw 12: Panoramas with fill edges9m 38s
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871 Developing your panorama in Camera Raw5m 53s
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872 Healing with Clone Source plus Diffusion8m 8s
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873 The improved Simplify command in Illustrator 20207m 25s
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874 Filling in any post-Simplify gaps4m 27s
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875 Posterizing colors, in the style of "Hair"11m 54s
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876 Recoloring art with the Paint Bucket tool5m 34s
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878 Adjusting your poster art dynamically6m 15s
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877 Posterizing colors nondestructively9m 8s
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879 Hiding the Filmstrip in Camera Raw4m 35s
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880 Making an awful photograph awesome10m 14s
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881 What if Rembrandt had painted sea lions?4m 43s
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882 Recolor a freeform gradient in Illustrator4m 58s
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883 Recoloring a gradient using a color group3m 24s
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884 Faking a GoPro over-under shot10m 20s
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885 Developing your over-under in Camera Raw4m 41s
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886 Drawing a 3D metal star in Illustrator14m 25s
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887 Rendering the 3D star in heavy metal5m 51s
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888 Creating a Wonder Woman 1984 poster effect9m 5s
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889 Creating the Wonder Woman displacement map15m 5s
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890 Masking your Wonder Woman11m 39s
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891 Creating a metadata template in Bridge9m 24s
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892 Streamlining a multi-use metadata template9m 29s
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893 The Photoshop 2020 freeform Warp enhancements12m 32s
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894 Applying a freeform Warp to a Smart Object7m 54s
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895 Rescuing a frame from a GoPro movie7m 49s
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896 Filling gaps with Content-Aware Fill7m 5s
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897 Two images are better than one13m 8s
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898 Blending images with a hand-drawn vignette4m 44s
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899 Creating a photographic painting12m 37s
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900 Drawing a gradient sphere as a 2D shape9m 49s
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901 Turning a sphere into a colorful pool ball7m 51s
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902 Changing a pool ball from solid to stripes8m 22s
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903 Rotate versus Transform Each in Illustrator9m 36s
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904 Recoloring your pool balls8m 20s
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905 Drawing a pool cue in Illustrator15m 43s
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906 Rotating with precision accuracy7m 28s
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907 Repeating a face so it shares a common eye11m 20s
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908 Continuous rainbow faces in Photoshop5m 42s
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909 Masking in the natural colors of the lips6m 8s
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910 Flipping a face to create new identities9m 8s
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911 Hand painting a symmetrical layer mask4m 18s
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912 Two ways to colorize with gradients6m 9s
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913 Two ways to mask gradient effects6m 40s
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914 Lantern tile: Type 1, onion7m 53s
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915 Lantern tile: Type 2, traditional6m 33s
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916 Lantern tile: Type 3, scallop4m 30s
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917 Quickly change the number of steps in Illustrator8m 22s
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918 Creating a blend inside a blend7m 44s
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919 Reversing the stacking order in Illustrator4m 32s
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920 Turning a blend into a repeating pattern12m 16s
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921 Recoloring a blended pattern5m 8s
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922 Precisely sizing any polygon in Illustrator9m 19s
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923 Creating a beveled, equilateral triangle11m 46s
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924 Turning a triangle into a Mercedes star9m 7s
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925 Adding a ring around the Mercedes star7m 57s
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926 Precisely sizing stars in Illustrator10m 20s
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927 Let's review that star technique5m 25s
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928 Creating real artwork with basic shapes9m 55s
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929 Making a face of triangles in Illustrator10m 18s
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930 Painting with gradients and translucency10m 34s
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931 More advanced gradients in Illustrator6m 52s
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932 Combining translucent vectors with a photo5m 30s
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933 Using the dynamic Free Distort filter9m 3s
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934 Combining dynamic effects in Illustrator6m 4s
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935 Creating a Halloween cat’s eye in Illustrator14m 35s
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936 Combining multiple gradient fills and effects8m 28s
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937 Tracing a photo with primitives in Illustrator11m 31s
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938 Halftone pattern and Zig Zag in Illustrator13m 5s
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939 Adding dynamic highlights to your cat’s eye10m 29s
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940 Blending reptile-like scales in Illustrator13m 42s
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941 Shading to your cat’s eye in Illustrator10m 53s
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942 Shading with variable-width strokes9m 10s
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943 Turning your cat’s eye into a dragon’s eye10m 40s
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944 Clearing the Photoshop Home screen5m 5s
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945 Hiding a single Home screen thumbnail3m 29s
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946 Clearing the Illustrator Home screen4m 4s
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947 A new way to unlock stuff in Illustrator5m
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948 Another way to unlock stuff in Illustrator2m 47s
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949 The new Line tool in Photoshop 202110m 43s
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950 Fixing a broken candy cane pattern4m 58s
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951 Creating a candy cane rhinoceros in Photoshop10m 4s
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952 Warping a pattern around an object4m 2s
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953 Adding some rippling, reflective ice shadows8m 35s
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